First of all a confession from me. Music from the Elizabethan era is not
my speciality; still less the sound of the harpsichord. For this reason I
cannot comment on issues of authenticity or performing style.

The making of classical CDs has become something of a cottage industry. Costs
have fallen and technology is no longer as forbidding. The main hurdle however
(apart from raising the cash) is marketing. Perhaps the internet and the
relevant newsgroups offer part of the answer. Meantime various pioneers have
stacks of CDs sitting in their attics and hallways and lounges awaiting orders.

The present disc is an example of that industry. Production values are not
at all amateurish. Design of the leaflet is excellent and the notes are extremely
informative.

The twentieth century was littered with examples of composers who left Britain
to make their fortunes elsewhere: Peter Racine Fricker in California: Iain
Hamilton in New York, Peter Tahourdin and David Sydney Morgan in Australia:
John Foulds in India: William Henry Bell and Albert Coates in South Africa.

What is less readily appreciated is that religious oppression drove an earlier
generation out of the British Isles: John Bull and Thomas Morley to Antwerp
and Peter Philips to Italy and ultimately to Antwerp (something of a magnet
to musicians - especially English Catholics) where he was employed by one
Paget as a feted harpsichordist and organist.

The present collection of pieces comes from Peter Tregian's personal collection
- the Fitzwilliam Virginal Book dating from circa 1600. Colin Booth is as
alert as can be in the slender but resilient emotions of this music. One
is not accustomed to intense pathos or drama in such music but a surprising
measure of these qualities does come through. There are some startlingly
Mozartian moments among the mannered style of the time. This alone is sufficient
to mark out this release from the common herd. Altogether a very creditable
release.

This is a warm and lively recording to contrast with the often unduly distanced
and analytical approach. The downside is that the instrumental lines can
sometimes become blurred by each other. Personally though I would rather
have warmth from an instrument that one does not readily associate with that
quality.

Definitely worth exploring (as, I am sure, are the other discs from Soundboard
including a collection of harpsichord pieces by William Croft). More details
readily available from Colin Booth. Address below.

Reviewer

Rob Barnett

NOTE - the disc is available from Colin Booth at Soundboard, Mt Pleasant,
Westbury sub Mendip BA5 1HU, United Kingdom